This is a track I recorded on solo shakuhachi (a Jiari 1.8). Usually when I record my solo works I keep the reverb either natural or minimal. On this recording I was experimenting with a reverb plug-in called SuperMassive. I used the Aquarius mode which is a density controlled reverb. The results are interesting but, I think I'll stick with a more natural sound for the flute.

Tabi Bito No Uta (with SuperMassive Reverb)

This is a track I recorded on solo shakuhachi (a Jiari 1.8). Usually when I record my solo works I keep the reverb either natural or minimal. On this recording I was experimenting with a reverb plug-in called SuperMassive. I used the Gemini mode which is a density controlled reverb.

Kikkyo Genso Kyoku (with SuperMassive Reverb)

This is a track I recorded on solo shakuhachi (a Jiari 1.8) in December of 2021. The piece is from the traditional repertoire of solo shakuhachi works. Usually when I record my solo works I keep the reverb either natural or minimal. On this recording I have been experimenting with a reverb plug-in called SuperMassive.

Azuma Jishi (With SuperMassive Reverb)

Sometimes called Yamagoe Reibo, this song is used to set one's standards for training. I recorded it originally on a 1.8 shakuhachi in October of 2013. This is that version remixed with Valhalla DSP's SuperMassive reverb plugin.

Yamagoe (with SuperMassive Reverb)

This piece is a variant of the Taizan Ha version of Taki Ochi.
Taki is the word for waterfall in Japanese. I’m playing this
from the score written down by Taniguchi Yoshinobu. Here
is what he says about the piece:
“It is necessary to practice playing this piece at a quick pace
so that you can develop a smooth technique and also to help
bypass any thought. One should play this song over and
over so it feels and flows out naturally. Its tempo and rhythm
are the main aspects on which to focus.”
This is a remix (using Valhalla DSP's SuperMassive plug-in) of a recording I did in 2016.

Taki Ochi (with SuperMassive Reverb)

I recorded this in December of 2021. The piece San'an (産安) is from the Echigo District of northern Japan. It is a prayer for safe passage particularly for the safe passage in childbirth. I'm playing it on a 2.0 (nishaku) flute. This is a remix using Valhalla DSP's SuperMassive plugin.

San'an (with SuperMassive Reverb)

Thinking, an etude for Mellotron and small modular system. Recorded January 8th 2023 in Naperville IL USA.

Sunday January 8th 2023 Thinking

Nut #2, an etude for Lyra-8 and small modular system. Recorded February 10th 2023 in Naperville IL USA.

Friday February 10th 2023 Nut #2

Nut #12, a meditation for Lyra-8, Haken ContinuuMini, and small modular system. Recorded March 7th 2023 in Naperville IL USA.

Tuesday March 7th 2023 Nut #12

Fixation #8 for shakuhachi, angel wing begonia, and small modular system. Recorded August 25th 2023 in Naperville IL USA.

Friday August 25th 2023 Fixation #8

Cosmic Haiku #1 for Mellotron (Tubular Bells, Cello, French Horn, and Violin) and SOMA Laboratories COSMOS. Recorded January 27th 2025 in Naperville IL USA.

Monday January 27th 2025 Cosmic Haiku #1

Cosmic Haiku #2 for Lyra-8 and Cosmos. Recorded January 28th 2025 in Naperville IL USA.

Tuesday January 28th 2025 Cosmic Haiku #2

Folding #1 for Lyra-8 and Moog/Behringer Modular system. Recorded February 10th 2025 in Naperville IL USA

Monday February 10th 2025 Folding #1

Tone Poem #1 for Buchla Modular System, Vectra Synthesizer, Mellotron, and Cosmos. Recorded February 24th 2025 in Naperville IL USA.

Monday February 24th 2025 Tone Poem #1

This is a Japanese folk piece (Minyo), performed solo on a 1.6 shakuhachi (rokusun).

Kaigara Bushi

Japanese folk piece performed (by me) on a 1.8 shakuhachi (hasun).

Komoro Mago Uta

This is the simplest of the honkyoku repertoire. It comes from a Buddhist piece called Choshi and has been reinterpreted through Watazume and Yokoyama Katsuya. I play it here on a nishaku (2.0 shakuhachi).

Hon Shirabe

Shifting Gases for Lyra-8 and Behringer/Moog modular system. Recorded March 2nd 2025 in Naperville IL USA.

Sunday March 2nd 2025 Shifting Gases

Temple View for recorded shakuhachi, Mellotron, FutureRetro Vectra, Buchla Modular System, and SOMA Cosmos. Recorded March 13th 2025 in Naperville IL USA.

Thursday March 13th 2025 Temple View

RinGynGyoo for pre-recorded voice, Mellotron, Future Retro Vectra, and SOMA Cosmos. Recorded March 4th 2025 in Naperville IL USA.

Tuesday March 4th 2025 RinGynGyoo

Temple View #2 for pre-recorded shakuhachi, mbira, Mellotron, Lyra-8, Buchla/Tiptop Audio modular system, and Cosmos

Wednesday April 9th 2025 Temple View #2

Cosmic Drift for Mellotron, mbira, Lyra-8, Buchla modular system, and Cosmos. Recorded April 12th 2025 in Naperville IL USA.

Saturday April 12th 2025 Cosmic Drift

In the Mist for recorded Cicada (2024 Naperville IL USA), Buchla Modular, Mbira, Mellotron, Lyra-8, and Cosmos. Recorded April 12th 2025 in Naperville USA

Monday April 21st 2025 In the Mist

A Simple Extension for Mellotron, Buchla Modular System, Mbira, Lyra-8, and Cosmos. Recorded April 21st in Naperville IL USA.

Monday April 21st 2025 A Simple Extension

Sanya (三谷) or Three Valleys is a traditional solo piece for shakuhachi from the Buddhist tradition. Here I make no claims to a traditional performance, but instead have transformed the piece into an electro-acoustic work for heavily processed shakuhachi. Recorded July 15th 2025 in Naperville IL USA.

Tuesday July 15th 2025 Sanya (Three Valleys)

This is a solo shakuhachi piece originally from the Kanto
area. It is a basic piece in the Kinko repertoire, but my
version is one that has been interpreted through the
teachings of Katsuya Yokoyama (via his student Michael
Chikusen Gould). It is said to have been played by monks
while begging alms. Here I play it on a 1.8 Kinshyu shakuhachi.
Recorded March 10th 2016 in Naperville IL USA

Hifumi Hachigaeshi

This is a complete version of Kyorei (I posted a partial
version earlier) played on a jiari 1.8 shakuhachi (hasun).
This is one of the oldest pieces in the solo shakuhachi 
(Buddhist) repertoire.

Kyorei (Hasun Complete)

More experiments processing the shakuhachi. There is
also a little Moog Voyager and Synthesizers.com in there.
This was done as a real-time improvisation.

Hasun Improvisation 05 - 02 - 2016

This piece is supposed to conjure up the state of
being as expressed by the Chinese poem: "The enlightened
soul is like the solitary moon, its light engulfing all". I'm
playing it here on a 2.4 shakuhachi (nishakuyon). It comes
to me via the Katsuya Yokoyama score and his school of 
playing.

Shin Getsu (Nishakuyon)

Koka No Uta written by Nomura Seiho and
arranged as a solo by Yoshinobu Tanaguchi.
I'm playing it on a TaiHei 1.8 shakuhachi.

Koka No Uta

This was done with the Wiard 300 Series modular, the Moog
Minitaur, and the Moog Voyager, with some processing on
the Synthesizers.com modular. It was created in honor of the
20th anniversary of the founding of the Wiard Synthesizer 
Company (May 5th 1999). The recording was done in realtime
at the Studio in Naperville IL USA. It was recorded on May 5th
2019.

Sunday May 5th 2019 Wiard Ride

Traditional Honkyoku (Japanese Buddhist Piece) Performed on Shakuhachi.
The title refers to "Unhindered Purposeful Inaction". I recorded this on a
standard 1.8 length shakuhachi using a Zoom H4 recorder in 2010. This
piece is said to have originated around 700 years ago.

Koku

Traditional Japanese shakuhachi solo piece (Honkyoku). This is
said to be one of the three oldest pieces in the repertoire. It's played
on a 1.8 jiari flute.

Mukaiji

I am, on the maternal side, Haplogroup T
(Subclade T2) and, on the paternal side,
Haplogroup Q (M242)!
I have been walking the earth since the
early '50s. I am an ex-mill-rat,
ex-(Calumet)region-rat, ex-chemist,
dead-mathematician, ex-programmer,
musician, composer, earth-walker.
I have two musical directions, I play,
perform, and teach traditional Japanese
classical music for the shakuhachi
(an end blown bamboo flute), and I play,
compose, and perform experimental
electronic music. All the electronic music I
compose and perform is and can be done
in real-time (i.e. I don't use multi-tracking
or computer manipulation for my compositions).
Whenever I record anything, either electronic
or on the shakuhachi, it is done in real-time
just as it would have been done on the stage
or in an intimate setting.

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